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CLIFFORD THE BIG RED DOG Starring: Darby Camp, Jack Whitehall, Izaac Wang, John Cleese, Sienna Guillory, Tony Hale, and David Alan Grier Director: Walt Becker JACOB Were it not for the notion of entertaining small children, I cannot think of a single reason to recommend the latest iteration of Clifford the Big Red Dog . The underwritten narrative rushes around from theme to theme with no sense of direction, and the giant CGI canine makes less and less sense (looks-wise) every few frames. Its main characters are hollowed out caricatures of actual people, with its side characters just plain old hollow shells fueled by laughably bad dialogue. I will give the movie partial credit for making me laugh twice (and emotional once), but that’s about it. JOSEPH Clifford the Big Red Dog is exactly what you’d expect it to be. There are hijinks akin to animal-buddy movies from the 90s and mid-brow humor, but nothing too special. You’d think with a giant dog there’d be more unique visual gags, but nope. Still, as children’s movies go, it could be worse, and the themes on the importance of community are nice. There’s much this film could have improved upon, but for its target audience, it should be enjoyable enough. As for adults, it’s not a total waste of time, but you might be better off skipping it.

EMANCIPATION Starring: Will Smith, Ben Foster, and Charmaine Bingwa Director: Antoine Fuqua QUENTIN Emancipation has a bit of an identity crisis on its hands. What starts as an Oscar Bait slavery drama akin to 12 Years a Slave evolves into an action chase movie similar to Mel Gibson’s Apocalypto before eventually giving way to a Civil War movie in the vein of Glory . The mishmash of those tones, not to mention the inconsistent color palette, makes it hard for the viewer to truly settle in. That said, it’s never boring. Will Smith and Ben Foster do nice work, and it’s beautifully shot. The brutality might turn some people off, but there is enough here to make it worth your time. AMARÚ Emancipation ’s story should always be told. It’s a well-written, well-acted, well-scored and well-directed movie. Director Antoine Fuqua’s action doesn’t miss, and his use of tints and colors is especially poignant. That said, as an American Black man whose upbringing included Glory , Roots , and Amistad , there’s always the lingering question of whether I need to watch another slavery movie. I wanted to watch…that’s why you’re reading this review…but after finishing it, the answer is "no, I did not." By all means, watch the film. But if your station in life mirrors mine, then I’ll let you decide if your want outweighs your need. JACOB Its heart is in the right place, but unfortunately, Emancipation doesn’t quite rise to the level of filmmaking it hopes to achieve. Director Antoine Fuqua’s runaway slave thriller does feature a solid (if tepid) Will Smith performance, but the film has little to say about the brutality of slavery or the difficulties involved in escaping it. The film also looks quite bad, with such a desaturated color grade that one would think it was black & white if not for a few warm hues in some margins (not to mention the far too many drone shots). All in all, it’s serviceable, but skippable. ADRIANO I wish I knew what director Antoine Fuqua was trying to accomplish with Emancipation . One moment, the film is a sickening look at slavery; five minutes later, it's an action thriller. Those ideals never mesh together in a cohesive way, so it left me lost as to what the ultimate goal was. I’m not saying the story is never compelling, it just feels fumbled. Despite the film’s distracting color grading, it is admittedly well constructed, and Will Smith is an effective lead; however, I never felt gripped by the events of the story enough to care.

BEAU IS AFRAID Starring: Joaquin Phoenix, Patti LuPone, Nathan Lane, Amy Ryan, Stephen McKinley Henderson, and Parker Posey Director: Ari Aster NICK What do I even say about Beau Is Afraid ? Some people ADORE this film. Some people HATE it. I understand both reactions. For me, I find it similar to last year’s White Noise : an ambitious film (basically) broken into acts with varying levels of success. There are many aspects I enjoy…Joaquin Phoenix works great as man-child Beau and there is some exceptional camera work and visuals…but it doesn’t amount to a succinct film unhampered by its runtime. It’s not a write-off, and it’s filled with subtle details begging for a re-watch, but it is still ranked third in director Ari Aster’s three-film filmography. JACOB If anything can be said for Beau Is Afraid without refute, it’s certainly Ari Aster’s most audacious film to date, and somehow one of Joaquin Phoenix’s strangest turns. A horror comedy of lengthy proportions, this saga of chaos and confusion takes less of a conventional route through terror and instead establishes itself as something akin to a prolonged surrealist anxiety attack. It certainly didn’t need to be three hours long, and the entirely unexpected third act will be make-or-break for most people, but I can’t say I wasn’t fascinated or eager to see what would happen the whole way through. ADRIANO I love Ari Aster’s previous films, so my hype for Beau Is Afraid was sky-high. Although I liked it, it does feel a little too self-indulgent for me to praise its ambitiousness. Joaquin Phoenix is reliably great, as is Patti LuPone; however, the film’s first hour introduces the surrealism in a funny and engaging way before the second hour lost me. At that point, most of what is happening on screen feels like it’s only happening to cater to Aster. By the end, I understood what he was going for, but it left a conflicted taste in my mouth. PAIGE Beau (Joaquin Phoenix) might be afraid, but director Ari Aster sure isn’t. This movie is honestly one of the most obscure and maddening movies I’ve ever seen. It feels like a full-blown fever dream that has the anxiety knob cranked up to eleven. It’s a lot to take in, and like Aster’s other films, I admire the craftsmanship put on display through his style and production design while simultaneously never wanting to watch this ever again. Of course, Phoenix is great as expected, but this movie is not for me, and it probably won’t be for many others either outside of huge Aster fans.

THE MENU Starring: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, John Leguizamo, Judith Light, Paul Adelstein, Aimee Carrero, Janet McTeer, Rob Yang, Reed Birney, Arturo Castro, Mark St. Cyr, and Hong Chau Director: Mark Mylod NICK Forgive the food pun, but The Menu is a delicious piece of cinema. The well-crafted story moves at a brisk pace, combining humour, tension, and suspense to create a truly unique film. Ralph Fiennes will deservedly be the most recognized performance, but this is a pure ensemble piece. Everyone has a specific part to play, and each is necessary to complete the puzzle of the film. It's truly a case of the story outdoing any one performance, thanks to the excellent script by Seth Reiss and Will Tracy. A thoroughly enjoyable ride that, most importantly, sticks the landing. QUENTIN Who wants some food wordplay!? The Menu is a dark and decadent experience made up of the finest ingredients and several surprises. The amuse-bouche sets up the entrée of the story perfectly, and the expertly prepared main course of Ralph Fiennes and Anya Taylor-Joy are well garnished by a number of complementary side dishes. My lone complaint is that the two-part dessert didn’t work for me entirely, with one part being to die for while the other felt a little half-baked. Still though, this is a meal that left me satisfied, wowed, and eager for more from Chef…err, director…Mark Mylod. It’s worthy of the hype. ADRIANO The Menu is one of those movies that feels like it was cooked up specifically for me, as director Mark Mylod creates such a weirdly tense atmosphere that also has room for laughs somehow. You can tell instantly that something is off, and the slow build-up to the various reveals is super entertaining, not to mention that the entire cast, led wonderfully by Ralph Fiennes and Anya Taylor-Joy, is fantastic. This is a very clever satire on class and fine dining culture that is a true feast to behold. AMARÚ Going into The Menu knowing little-to-nothing about the plot enhanced the mystery of this meticulous and well-acted cat-and-mouse thriller. Every scene, word, and musical note felt as deliberate as the painstakingly curated menu that Ralph Fiennes’ Chef Julian Slowik put together for his exclusive guests. But like many fine dining restaurants that overcharge for two bites of “food,” you end up with a dazzling experience and an empty stomach. The film seemingly pulled its punches because there was certainly more fight to be had amongst these characters. Although surprising, intriguing, and darkly humorous, The Menu left me wanting more conflict within its deftly assembled story. PAIGE Yes, chef, I can attest that The Menu is deliciously good! This dark satire uses the cuisines it’s serving as a metaphor for high class privilege, which provides plenty of spice for its audience. The flavorful script is excellently directed by Mark Mylod, who elicits outstanding performances from Ralph Fiennes and Anya Taylor-Joy. Some may walk away not completely satisfied from what is served, but I enjoyed every last bite. Plus, it keeps you on your toes because you never know what is possibly coming next. JACOB There are a lot of things to like about The Menu : its stellar performances, its crackling script, and its horrifically beautiful (and occasionally funny) depictions of food and recipe cards. However, it does give off the feeling that it thinks it’s smarter than it actually is. Once one clocks the metaphor/message being played out, the themes of the movie continue to hit like a blunt-edged sledgehammer, refusing to let the audience interpret them with additional layers. That said, it is a deliciously fun time to have at the movies, even if I don’t think it’s the firecracker everyone else seems to think it is. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

SPIDERHEAD Starring: Chris Hemsworth, Miles Teller, Jurnee Smollett, and Mark Paguio Director: Joseph Kosinski JOSEPH Spiderhead is a nice surprise. Chris Hemsworth steals every scene he’s in, bringing a maniacal glee to the role. It also is a testament to just how good of a performer Hemsworth is. From a story perspective, Spiderhead has its hits and misses. Sometimes it feels like its moving a little too slowly, and while the finale is exciting, the overall resolution leaves something to be desired. Still, I think the high concept and solid performances are enough to make Spiderhead a worthwhile watch. NICK Story wise, Spiderhead conjures up memories of The Island and Ex Machina , and although it’s more predictable than those films, the performance of Chris Hemsworth makes it work. Hemsworth has a blast every minute he’s on screen, and when he’s absent, the film takes a noticeable hit. That’s not to say anything of the performances from Miles Teller and especially Jurnee Smollett, but this is The Chris Hemsworth Show. Spiderhead also makes for another solid outing from director Joseph Kosinski following the success of Top Gun: Maverick . It may not reach the heights of that film, but Spiderhead is still a fun ride. JACOB Joseph Kosinski’s Spiderhead isn’t a total bore, but it feels as if the story being told was meant to be in a miniseries format at first, then squeezed down to about two hours. Almost none of the characters actually receive the development they need to carry this narrative, and the idea of the location itself never really gets any traction beyond it simply being the setting. The film does attempt to grapple with some interesting concepts, but never actually explores them; without Chris Hemsworth and Miles Teller to keep its poorly-structured weight afloat, it likely would have sunk entirely. QUENTIN With its strong Ex Machina vibes, a charismatic performance from Chris Hemsworth, and a terrific yacht rock soundtrack, Spiderhead is a fun little slice of thrilling intrigue, even if it’s never quite as good as the sum of its parts. Truthfully, my only real complaint is that a lot of the movie, both characters and plotlines, is underdeveloped. Revelations are made without much build up, so they don’t quite resonate the way director Joseph Kosinski probably wants them to. That said, this lone flaw never makes the movie less than engrossing, but it does drop Spiderhead from potentially great to merely pretty good. PAIGE Spiderhead has an intriguing premise and a great cast, but overall, it is not a winning bingo card. This sci-fi thriller is a bland pill to swallow, honestly. Despite the success director Joseph Kosinski just had with Top Gun: Maverick , this film unfortunately comes with side effects of nausea, headaches, and disappointment. The concept needed more meat to its bones, and it left me feeling like it was missing a whole other layer. Still though, it’s enjoyable enough due to the performances of Chris Hemsworth and Miles Teller.

BUGONIA Starring: Emma Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, and Alicia Silverstone Director: Yorgos Lanthimos QUENTIN As a director, it must be tough when your adherence to being weirdly unpredictable leads to being the total opposite. While I understand it’s a remake, that is the problem director Yorgos Lanthimos faces with Bugonia . Had this black comedy been made by any other filmmaker, I likely would have enjoyed the ride a bit more. However, I knew exactly where this story was going from jump street, which hurt my experience a bit. That aside, the performances are as excellent as you’d assume, and Lanthimos’ delightfully oddball tone permeates every corner of the film. For better or worse, it’s exactly what I expected. ADRIANO Yorgos Lanthimos must be enjoying his recent success with Poor Things and The Favourite , and while Bugonia isn't at that tier, I do think he found an interesting angle to flesh out his signature cynicism. Anchored by two magnificent performances from Emma Stone and a career-best Jesse Plemons, Bugonia takes a wild stab at the potential failure of the human experiment, with wild filmmaking that takes a non-judgmental yet scathing dive into the minds of conspiracy theorists at the bottom and the powerful CEOs at the top. It's the type of Lanthimos magnetism that makes a film unforgettable. BODE I admittedly haven’t truly liked a Yorgos Lanthimos flick since The Favourite . I wasn’t as hot on Poor Things as everyone else, and I was even more mixed on Kinds of Kindness . But Bugonia managed to get me back on board. Though a tad overlong, there’s still enough that makes its deeply sad (but still absurd) damnation of humanity entirely engaging. Emma Stone and Jesse Plemons are expectedly great, newcomer Aidan Delbis is a real find, composer Jerskin Fendrix delivers a career-best score, and Robbie Ryan’s camerawork is as wild as ever. It’s a mostly solid turn for the Greek freak. PAIGE Bugonia is one of those movies that truly keeps you on your toes. Just when you think you’ve figured out where it’s headed, director Yorgos Lanthimos throws another wrench into the story and keeps you guessing. It’s a disturbing and dark comedy, yet also a strange, gripping thriller that is elevated by Jerskin Fendrix’s grand score which keeps the tension high throughout. While I found it to be a profound and captivating watch, there are a few undercooked subplots that if fleshed out could’ve added more layers to the story. As expected, Emma Stone is excellent, but it’s Jesse Plemons who steals the show, delivering his best performance to date. AMARÚ Bugonia is director Yorgos Lanthimos’ complete undressing of today’s society in his uniquely bonkers fashion. From corporate greed to the double speak, vague buzzwords, and emotional manipulation of our social climate, Lanthimos presents our current culture’s frustrating ideological battles in a way that’s depressingly outlandish yet surprisingly straightforward. Both Emma Stone and Jesse Plemons are riveting, and composer Jerskin Fendrix’s harrowing score adds to the paranoid insanity that steadily has you questioning how this will end (being a Yorgos project, anything is plausible). Your enjoyment will hinge on your willingness to accept Yorgos’ crazy, and if you’re willing, then there isn’t much to objectively dislike. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2 025 Zurich Film Festival.

DC LEAGUE OF SUPER-PETS Starring: Dwayne Johnson, Kevin Hart, Kate McKinnon, John Krasinski, Vanessa Bayer, Natasha Lyonne, Diego Luna, Marc Maron, Keanu Reeves, Thomas Middleditch, Ben Schwartz, Olivia Wilde, Maya Erskine, Yvette Nicole Brown, Jameela Jamil, Jemaine Clement, John Early, Dascha Polanco, Daveed Diggs, Alfred Molina, Lena Headey, Keith David, Busy Philipps, Dan Fogler, Winona Bradshaw Directors: Jared Stern and Sam Levine AMARÚ DC League of Super-Pets is cute as hell. But more than that, it understood the assignment. It’s a straightforward kid’s movie with self-referential humor that comic-book loving parents (and comic-book loving non-parents) will appreciate. It takes the vibe of the other pet-based animated movie starring Kevin Hart and intelligently pokes fun at the tropes of multiple genres to succeed where that movie failed. Leaning on a great voice cast (Natasha Lyonne is a true standout), it focuses on the lessons and heart of other great kid’s movies to allow those inside jokes to land better. Super-Pets may be predictable, but it’s an enjoyable time. ADRIANO Going in, I had a certain set of expectations for DC League Of Super-Pets , and those expectations were met, in that it was a middle-of-the-road, perfectly fine movie for children. It has some chuckles and some heart, but it’s not changing humanity. The kids in my audience loved it, but I’m not a kid. As a non-kid, I thought it was serviceable. I liked the voice acting in the movie, so there is that. I can’t in good conscience say the movie is bad because I enjoyed it to an extent, but I thought it was only just fine. JACOB It’s not likely to be your new favorite animated movie, or even make most Top 10s in that respect, but there’s enough to like about DC League of Super-Pets to make it worthwhile. The animation itself looks quite good, and the voice cast all bring their A-game to the table in telling a unique superhero story that may be biting off a bit more than it can chew. Those unfulfilled ambitions aside, the film does throw in some adult-level jokes that provide genuine laughs while the heartwarming story manages to shine through most of the film’s drawbacks.

DEADPOOL & WOLVERINE Starring: Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew Macfadyen, Morena Baccarin, Rob Delaney, and Leslie Uggams Director: Shawn Levy NICK My biggest fear going to Deadpool & Wolverine was that it would tarnish the legacy of Logan , a film I consider the greatest superhero film of all time. Thankfully, it doesn't. It respects what came before it while also trying to build something new, and it does so in a way that only Deadpool (Ryan Reynolds) can: with gratuitous violence, foul language, and a cavalcade of cameos. There are some jokes that miss, and the fourth wall gets a little schticky, but Reynolds and Hugh Jackman make up for all of that. Jackman, in particular, is fantastic, reminding us just how synonymous he is with Wolverine. ADRIANO Deadpool & Wolverine is the cinematic equivalent of a baby’s mobile. There's fun to be had, and I did laugh more than I expected, but a lot of this film is just an ugly-looking waste whose only purpose is to force No Way Home -style applause out of audiences. Any attempt at effective character writing is poor (they got close with Hugh Jackman's Wolverine, in fairness), the film's action is weightless, the humour is repetitive, and the story is nonsense. For many, this'll be exactly what the doctor ordered, but for me, my fun peaked at the opening sequence. QUENTIN For Marvel fans, Deadpool & Wolverine has just about everything they could ask for: violent action, killer cameos, laugh-out-loud jokes, on-point character portrayals, and deep-cut Easter Eggs, all while paying a surprisingly loving tribute to the 20th Century Fox era of superhero movies. It’s probably the best and most rewatchable Marvel movie since Endgame . If I take my Marvel-bias hat off for a second, though…it’s a bit too long, mostly due to the abundance of exposition necessary to make the crossover work (such as it does), and Ryan Reynolds’ schtick can wear just a tad thin. Only you know if you’re a hat-on or hat-off person. AMARÚ Deadpool & Wolverine is a hilarious love letter to 25+ years of Marvel fandom that takes itself as seriously as Wade Wilson (Ryan Reynolds) takes moments of silence. The expositional setup is clunky, and I don’t need Shawn Levy to direct any more big MCU fight scenes, but from its absolutely pitch-perfect opening credits to every (rightfully) gratuitous cameo, this film is the blockbuster hit that a couple of this year’s legacy sequels wanted to be. Naturally, though, it’s Reynolds and Hugh Jackman’s chemistry that shines the brightest, proving that the title is spot on about what you came here to see. KATIE Deadpool & Wolverine delivers everything the fans want and more, from gratuitous violence and trashy humour to plenty of cameos and winking at the camera. Yes, the CGI effects and visuals are inconsistent, and the inconsequential plot is secondary to the fourth-wall breaking, F-bombs, and Deadpool (Ryan Reynolds) and Wolverine’s (Hugh Jackman) budding relationship; however, I laughed a lot more than I predicted, and any issues I had were quickly pacified by a self-conscious joke and Ryan Reynolds and Hugh Jackman’s undeniable chemistry. The film is essentially two hours of fan service, but I still had a great time. PRESTON For lovers of Marvel's cinematic universe, superhero comics, cartoons, television series and all other things of the ilk, Deadpool & Wolverine can be safely regarded as straight-up nerd porn. I, being a fan, found entertainment there, but will always place a higher value on the crushing sarcasm and dark humor that Ryan Reynolds, once again, delivers with expert precision. Although, even for me, some of the jokes eventually stale from overuse as the film goes too far for too long. No matter the length, I recommend staying all the way through the credits for one very satisfying final scene. SHADAN Once my most anticipated movies of every year, MCU films have become a pop culture chore lately. Perhaps the key to enjoying their offerings now is low expectations, but I can’t deny I had an absolute blast with Deadpool & Wolverine . Yes, it’s pure fan service, and it relies too heavily on cameos; I’m also willing to overlook the thin plot because I gave myself over to the silliness for two hours and received plenty of laughs and fun surprises in return. I found the 2000s-era, 20th Century Fox nostalgia sweet and surprisingly effective, making this my favorite of the Deadpool trilogy.

CADDO LAKE Starring: Dylan O’Brien, Eliza Scanlen, Caroline Falk, Lauren Ambrose, Eric Lange, Sam Hennings, and Diana Hopper Directors: Celine Held and Logan George QUENTIN A bit of advice: go into Caddo Lake completely blind (like I did) because I can assure you it’s probably not what you are expecting. If you follow that advice, you’ll be rewarded with a moody, intricately layered, puzzle-box mystery that recalls the movies of Justin Benson and Aaron Moorhead. Admittedly, *I* found it to be a tad predictable, but I suspect those who watch fewer movies than me might have their minds blown. Even still, if you do “figure it out,” the characters, performances, and atmosphere more than make for a compelling viewing experience. Overall, Caddo Lake was a nice and genuine surprise. PRESTON Caddo Lake benefits from an outstanding script that manages to take care of the smallest of details, which allows the viewer to relax into its surprising revelation with the knowledge that you are in good hands. It’s a surprising straight-to-streaming release that starts a little slow, but it uses its time wisely to lull you into complacency while simultaneously laying a competent backstory that only adds to the satisfying conclusion. Just trust the process and go in knowing that writers and directors Logan George and Celine Held have everything well in hand.

SHIRLEY Starring: Regina King, Lance Reddick, Lucas Hedges, Brian Stokes Mitchell, Christina Jackson, Michael Cherrie, André Holland, and Terrence Howard Director: John Ridley AMARÚ I was lucky enough to be educated about Shirley Chisholm growing up, and it’s a disservice that Shirley delves into the politician’s importance no more thoroughly than my elementary school. With great actors like Regina King, Lance Reddick (damn…), and Terrence Howard (whom I’ve never seen say less words in anything, ever) carrying the film to respectable status, the second half more successfully delivers increased gravitas to this cliff-notes version of her historical presidential campaign. While I was ultimately satisfied with what I watched, Shirley unfortunately continues the recent trend of mediocre biopics for people who are anything but. QUENTIN While I commend the intent behind Shirley , as well as the terrific performances, the fact is that the movie is simply too bland to be anything more than another forgettable biopic. I don’t know if director John Ridley was trying to make it more palatable for mainstream audiences, but I have to imagine that Shirley Chisholm’s (Regina King) ill-fated presidential bid faced stiffer problems than what we witness in the story given to us. It’s not a bad movie at all, and if you don’t know anything about the pioneering congresswoman, it’s worth a watch; however, Chisholm and her legacy deserve more than Shirley . ADRIANO The incredible true story at the heart of Shirley is one that deserves to be told, and it's told here with the utmost respect and admiration for Shirley Chisholm (Regina King). To her credit, King steers the vehicle excellently; however, the storytelling, sadly, feels too sanitized and weightless to feel her gravity. The presentation is remarkably dull and, while the story is inspiring, the lens through which it is told feels too much like a history lesson and not an experience. By no means is this movie bad, but stories like this deserve more than what we're given in Shirley . KATIE Shirley is a mediocre film about an incredible woman. Don’t get me wrong, the film does a great job of educating me about Shirley Chisholm’s (Regina King) remarkable life and amazing legacy, but, as is the case with many biopics lately, it comes across as a paint-by-numbers account that lacks nuance and presents many one-dimensional characters. The performances are great, especially King as Shirley, and it’s entertaining overall, but it borders on the mundane and lacks impact. I just wanted more from the representation of this inspiring story.

TOGETHER Starring: Dave Franco, Alison Brie, and Damon Herriman Director: Michael Shanks NICK As I stated in my Fantasia preview HERE , I was looking forward to Together . It had received positive buzz, and the marketing really played into the body horror. While that is certainly an aspect of the film, I wish it was more prominent, as this was visually much tamer than I'd expected. It’s more focused on the relationship challenges of Dave Franco and Alison Brie's Tim and Millie. In that sense, it works well as both give solid performances, but in the horror sense it leaves a little to be desired. It’s fine but I wanted this one to make me squirm in my seat. ADRIANO Slight bumps called The Monkey and Opus aside, 2025 has been a really solid year for horror, and Together is here to continue that trend. With its gnarly concept and gleefully deranged tone, the film offers the kind of darkly funny body-horror thrills you would want. Where the movie loses me is with the obvious codependency metaphor. As good as real-life couple Dave Franco and Alison Brie are, the movie doesn't quite get to the root or do anything particularly interesting with its ideas. Still, that doesn't in any way diminish the thrills you'll endure. ROBERT Together tells a classic story: boy (Dave Franco) meets girl (Alison Brie), boy and girl attempt to salvage their relationship, and then boy and girl must unravel a mystery before both their bodies merge into one… a tale as old as time. Together delves into the complex nature of adult relationships, looking at codependency and losing self-identity, while holding a creepiness factor and macabre humor that go hand-in-hand. One minute I’m shifting uncomfortably in my seat, and the next I’m belting out in laughter. Both Franco and Brie understand how to spotlight toughness in a partnership, and that understanding makes this film entertaining. PAIGE Together is a gnarly body horror film that is elevated by the performances of real-life couple Dave Franco and Alison Brie. Their chemistry is undeniable and breathes life into this film, giving it layers of not only terror but also romance and humor. While its themes of codependency may be a bit on the nose, this absurd flick is certainly a great date night movie for couples who love horror movies. The atmosphere throughout the movie feels claustrophobic and unsettling. Director Michael Shanks crushes it in his directorial debut, quite literally taking inspiration from the line in The Substance , “you are one.” QUENTIN Although a little too obvious, Together is an excellent metaphor for codependency and the feeling of relationship complacency. The chemistry between real-life married couple Dave Franco and Alison Brie holds the movie together through a slow start before director Michael Shanks drops in a few solid jump scares and the twisted body horror. All involved are especially adept at knowing when to lean into the dark humor of the situation as much as the terror. Even though it goes off the rails a bit towards the end, including a final shot I don’t exactly love, Together is one of 2025’s best horror offerings.

SHARPER Starring: Julianne Moore, Sebastian Stan, Justice Smith, Briana Middleton, and John Lithgow Director: Benjamin Caron NICK Here's the thing... plotwise, Sharper is great. The story is interesting, filled with exciting twists, while every member of the cast is engaging in their roles (even Justice Smith, who I'm often critical of). Unfortunately, with the way the film has been chopped up to incorporate its non-linear storytelling, all those exciting twists and turns have far less gravity to them than they should, making the film almost completely devoid of suspense. It's a baffling editorial decision that works against the film by taking away much of the finale’s weight. Still, it’s a worthwhile watch, but this could have been great. Such a missed opportunity. PAIGE Sharper is a stylish and seductive con artist thriller filled with countless plot twists. Just when you think you know where the story is going, the film takes another turn to keep you on the edge of your seat. The shifting character perspectives keep things intriguing and engaging, but the film fumbles it all in the third act. Still, it’s an entertaining experience that delivers solid performances from Julianne Moore, Sebastian Stan, and Briana Middleton, making it sharp enough to deserve being watched. DARRYL Sharper is a good psychological thriller that will keep the audience invested and engaged throughout. The interweaving stories dovetail into a third act that doesn’t fully hold up, but the twists and reveals make for a mostly satisfying conclusion nonetheless. Films about multi-layered con jobs and confidence scams can oftentimes come off as convoluted, but Sharper keeps its focus on its small central cast, maintaining a clear narrative that’s simple to follow. Benjamin Caron’s direction, solid performances from everyone (especially Briana Middleton), and a well-crafted production design make for a great weeknight movie that almost anyone can enjoy. JOSEPH Following some scam artists and their targets, Sharper weaves multiple threads into an intriguing thriller. Each new chapter offers another piece of the story, allowing us to better understand the motives behind the cons. That being said, I feel Sebastian Stan’s character could have been further developed, as he is mostly relegated to an interesting, but ultimately shallow, sociopath. Nevertheless, Sharper continuously throws twists at you, keeping your eyes glued to the screen and your mind second guessing every act made by the characters. It’s a fun thriller with a few flaws that the charismatic cast will help you overlook. QUENTIN As you know, I love a good heist, but I equally love Heist’s cousin, The Grift. And while Sharper has an appealing cast and a few stylistic choices that evoke the noirs of Brian De Palma, the movie is undermined by the fractured, non-linear story structure. In telling the story through character-driven chapters, the narrative momentum is virtually non-existent, which leaves the plentiful twists landing with more of a flat “oh, I see” than an emphatic “oh, wow!” Still, it’s not terrible by any means, and fans of con man movies should find it enjoyable enough, even if it doesn’t leave a lasting impression. ADRIANO Sharper is… fine. It has lots of ideas to play with, and I think director Benjamin Caron plays with those ideas in a sleek and, at times, fun way. The cast all do a great job too, especially Julianne Moore and Briana Middleton. But something about its delivery didn’t really engage me as much as it should have. I don’t think the pacing works for the plot’s high ambitions, and the ending didn’t stick the landing for me either. Check it out if you want, it might work for you, but for me, it didn’t resonate the way it should have. JACOB Sharper ’s script would be clever if it weren’t so convoluted, but regardless of its shortcomings when it comes to clarity or characters, it can be fun watching these performers scam each other as we journey into their respective pasts. There is a point where the plot switches back to present day that is so unremarked upon that the audience doesn’t even register the turn, but eventually we catch up. Unfortunately, the repetitiveness of the first two acts can’t be made up for by a relatively dull third act, so ultimately, the film can’t be more than just fine.